AFL FINALS TVC RICHARD HUGHES TREATMENT OVERVIEW Footy is in my blood. And I’m just about as passionate about the game as I am about creating content that moves people.
I spent the first 10 years of my professional career working as an editor, camera operator and finally as a director at The Seven Network. And my specialty? Footy.
I’ve shot on just about every ground in the country, and I’ve worked with just about every player and coach in the league.
Back in 2012, I created the now ongoing #Discovered series, fea- turing uniquely styled documentary pieces showcasing insights into the lives of AFL players off the footy field. The series has continued to air over the years during the AFL season’s prime- time Saturday Night Pre-Match Show, averaging 1 million viewers every week and in 2013 an episode of mine won the prestigious Grant Hattam Award For Excellence In Journalism.
When I finally left Seven to launch my production company, the Woolshed, one of our first TVC’s was directing the NAB Chal- lenge/AFL TVC!
For me, footy is addictive. It’s an overwhelming, pulsating rush that I can feel in my blood. It’s like shot of adrenaline, straight into the veins. And it’s that feeling of addictive, electrifying, ner- vous excitement that I want to bring to this TVC.
I want people to feel vibed. I want them to get excited about what’s coming. And I want them to feel like I do when finals come around -- alive, adrenaline pumping through my veins with an unstoppable thirst to see every game, whether my team is playing or not!
This script has awesome potential to elicit that kind of emotion- al response. And I’m confident I have the energy and vision to bring that to life.
Thanks for this opportunity to pitch. Concept dev. alone has been an awesome rush!
TONE The tone of this film needs to be moody, electric and most of all epic! Every character has been influenced by the finals effect, and this film is no different. The AFL finals series is a time of elec- tric excitement, everyone is on the edge of their seat waiting for the battle to begin. Whether you are playing, coaching or spec- tating the feeling is the same.
To emulate that feeling there will be fast cuts and abstract imag- ery to simulate the nervous energy that is engulfing the charac- ters. A reference of this is the WSL - Chaos Theory clip where we see abstract imagery to drive home the narrative in a way that’s unique and memorable, through powerful sound design it drives CLICK TO PLAY home that electrified energenic feeling with effective jump cutting and fast editing techniques. The way slow motion and fast action shots are combined to control the rhythm and emotional flow through the film is how we will to convey “the final’s effect”, a mix of science and emotion.
Another great example of the progression we are aiming for is in this promotional film for thePhiladelphia 76ers. It is a driving force that finishes at a climax of highlights that really gets the heart pumping. The way that they don’t always use sporting highlights in full frame has been a great inspiration of us and has inspired us to think outside the box and incorporate projection techniques as you’ll see in the rest of this treatment.
In terms of the opening imagery we feel that the shots need to be CLICK TO PLAY beautiful and epic whilst also having a dark and moody subtext as in this piece, Carved in Mayhem. It gives a great reference to the moodier components of the film and conveys both anticipa- tion and contemplation in a beautiful but engaging fashion and adds a cinematic component to the film which will only add in its epic nature. It speaks closely to the way in which we will open the film with Alastair Clarkson and Lance Franklin.
The overall film will combine the electricity of finals atmosphere with a cinematic, epic mood to emulate the nervous energy that is synonymous with the AFL finals series and generally incite excite- ment and anticipation.
CLICK TO PLAY CINEMATOGRAPHY & LOOK The look of this film will be brooding and cinematic with a sense of chaos. Juxtaposing images of moody serenity and abstract electricity and excitement.
Wide Cinema-Scope images (if we shoot 2.40 aspect ratio, or just “Wide Cinematic images”) with moody lighting, subjects in sil- houette and balanced framing will build a sense of calm, inter-cut with stylised and abstract closeup elements, macro shots and time lapse will allow us to build the pace and tension through the visual elements of the story.
Dramatic lighting effects such as the rain effect on Daisey Pierce’s face and the use of Black and White (or the use of a stylised colour grade for certain shots) will give a stylised Cine- matic feel.
We will utilise film/video projection and body projection tech- niques to bring a point of difference to the stock footage and allow us to create a stylised artistic interpretation of some the narrative story elements.
Time lapse and varied frame rates will be used to keep the viewer engaged with the difference in flow, and ramping techniques will bring emphasis to certain shots and emotions, while stop motion time-lapse or under cranked shots will heighten the tension and the feeling of electricity.
Camera: We will shoot on the Red Epic Digital Cinema Camera as it allows us to utilise it’s high resolution to get the most out of our post pro- duction requirements, like pushing in past the eye, etc.
Shooting on Macro lenses for the hair, and eye closeups allows us to get right into the science of the emotion, while shooting the other elements on Super speed lenses (T1.5), giving us a shallow depth of field and an emphasis on the subject. CHARACTERS My thought process here is that the dialogue in the script is actu- ally the internal thoughts of each character.
We’re entering their minds, listening to their thoughts which are rushing around, pulsating through their brain as the electric atmo- sphere of the finals football starts to take over.
And I want to treat them like fragmented thoughts, whereby there are elements of echoes reverberating around the dark corners of their mind.
If we take this approach then we don’t always need to see them ‘deliver’ the line. We can use this technique sparingly to provide more impact when they actually do (deliver direct to camera). In the other situations we can simply hear their inner thoughts as we are introduced to each character (each in unique ways - more on this below).
The fantastic variety of characters in the script allows us to explore each character in a different manner, and by entering each characters mind, we can explore how they are thinking and feeling leading up to the finals.
We progress in a linear manner, the coach and the players arrive first at dusk, waiting in nervous anticipation, the die hard fans come next, then it is time to get ready to play, the all important jumper is on and ready to go, as the dusk turns to night the rest of the crowd are in their seats, the commentator has arrived, all that’s left is the action.
The character profiles throughout the film all have a brooding element to them, they are all action and ready for the fight of their lives. LOCATION Given budget, talent availability and the sheer awesomeness of it, I’ve developed a treatment based in and around the G. I’m con- fident we can utilise different areas of the space without it being MCG/Melbourne focused, and more so utilising spaces in often a more abstract way whilst providing some spacial context/tie into footy as well as providing variety (as opposed to a singular studio based location for the character shots).
The general proceedings of the script (highlighted below in the treatment) progressively build from afternoon to night (game time) with each character contributing to the ‘arrival’ of a footy final!
SOUND The sound component to this film is vitally important in estab- lishing both mood and intensity. Considering there are so many extreme close ups and camera movements sound design will be incredibly important in amplifying the energy. The combination of sound effects such as inhaling, electrostatic flare, the lawn mower cutting grass will all add intensity and interest. The sound design will match the editing when it comes to multiple frame rates, with some SFX being slowed down and others sped up to match what the viewer is seeing.
In terms of the character’s internal monologue they will be stylised to give the effect of internal thought. Each will have re- verberations and subtle echoing effects to give the impression of being in the depths of their minds. As we introduce more charac- ters and the crowd grows in numbers we will heighten the sound design to follow the linear progression, the crowd sound effects will get progressively louder as we get closer to game time. Then we reach the climax with Patrick Dangerfield whilst the crowd is at an absolute fever pitch.”
The music track has to have that epic feel as with the ‘No Church- es in the Wild’ reference and will need to incorporate a steady build to the climax. The music and sound design will work to- gether to create an epic, big sound that leaves our audience with goosebumps. TREATMENT We open on a tight, brooding shot of Alistair Clarkson sitting, looking down the barrel of the camera.
RH: “This shot we imagine starts with Clarkson sitting on steps, lit by a pool of light in a moody section of the MCG, in the base- ment, the depths of the stadium, contemplating the huge task that lies ahead, he has a combination of nerves and excitement, filled with adrenalin, but remains in control.”
Alistair Clarkson: Every September that extraordinary feeling begins to take hold.
RH: “There will be a combination of a mid shot establishing Clarkson’s location then cutting to close ups of him deep in thought. Close-up shots of hands clasped together, foot shaking, a twitch of something.”
We cut to a moody skyline above the roof of the MCG. Moody clouds churn, creating an electric atmosphere.
RH: “There are a couple of ways to take this. One way is a bird’s eye view directly above the stadium, quite high up and we insert clouds rolling in over the stadium. Or we shoot it from the ground looking up into the sky and we see the enormous stadium com- pletely empty, with the electric clouds rolling through above. We’ll insert a timelapse of rolling clouds (with a ramped frame rate) superimposed beyond the stadium. A storm is brewing.”
We cut to a tight shot of Lance Franklin sitting, looking down the barrel.
RH: “We picture Lance waiting in the race about to head out onto the ground, again a solitary figure, on the precipice of heading into the light, there are a mix of shots between being silhouetted from behind and profiles.” TREATMENT Lance Franklin: Everything starts to look, smell and sound different, wherever you go.
RH: “As he talks of ‘look, smell and sound different’ we cut to extreme closeups of his eyes, him inhaling and him cracking his neck as he looks out onto the field ahead of him. Closeup of ear, jaw clench.”
We see a dynamic close up of a lawn mower’s blade cutting through the MCG turf in slow motion. We stay on the grass clip- pings as they fly through the air.
RH: “This shot we imagine shooting at multiple frame rates, super slow mo and also in fast motion and the tracking the grass will amplified with VFX.”
We cut to a tight shot of a fan/celebrity E.G. Eric Bana sitting, looking down the barrel.
RH: “Still down the barrel although now we had this fan/celebrity walking towards camera, it starts with the them walking towards camera with their head lowered, as they raise their head they proudly throw their team scarf around their neck, they tug on the scarf and then deliver their line to camera. Behind him/her are a crowd of equally enthused fans, all sporting their team colours, marching towards a game.”
Fan/Celebrity: It’s the finals effect.
RH: “I imagine them walking over a footbridge towards the ground or even walking through the turnstiles.” TREATMENT We see an energetic time lapse of a football crowd streaming towards the ground from above. Snippets of the time lapse are more accelerated than others.
RH: “This we also plan to shoot in multiple frame rates, to be able to achieve a ramping effect. The shot is either a bird’s eye view, or elevated around a 45 degree angle.”
We cut to a tight shot of Daisy Pearce, wearing her jersey, sitting, looking down the barrel.
RH: “We see Daisy against a textured wall in a nondescript section at the MCG, it is dark and moody (more of a black studio environment). We would have her lit by a side rain effect (light through a pane of glass with water running down it). I’d also like to explore projecting moody light/imagery onto the textured wall behind her. As a secondary option, I’d also like to explore the reverse of this, with the projector behind her, as we see beams of light (of her playing) shooting through some atmospheric haze.”
Daisy Pearce: It makes your hairs stand on end…
RH: “This is internal monologue.” TREATMENT
We see a succession of three or four quick shots of hairs raising up on different forearms.
RH: “These shots we think could be either four different people or all Daisy Pearce. The hair on her arms raising, the hair on the back of her neck, her fingers clenching with the nerves and antic- ipation. Closeup of an eye with electricity crackling around the iris (VFX shot).”
We cut to a tight shot of Brent Harvey sitting, looking down the barrel.
RH: “Here he is in the change rooms in front of his locker room and he is taking off his club hoodie to reveal a bare chest, here we have a projection of a heart pulsating and pumping fast on his chest, or we use CGI/VFX to actually punch into his chest.” TREATMENT
Brent Harvey: And your heart pumps faster than ever.
We dynamically move in through Brent’s chest and see anatomi- cal vision of his heart pumping energetically.
RH: “As the heart is pumping he pulls down his North Melbourne jumper over the top of the projection/VFX shot to stop the projec- tion/graphic.”
We cut to a tight shot of Dermott Brereton sitting, looking down the barrel.
RH: “Dermott Brereton is standing outside the MCG and behind him is a huge projection of his feats of the 1989 Grand Final behind him, he is standing proud, arms folded, he displays that touch of arrogance that helped him be one of the all time greats.”
Dermott Brereton: It pushes your body beyond what you thought was possible.
RH: “The establishing shot is wide and shot from a lowish angle, the mid-shot still shows the projection behind him.”
We cut to Dermott Brereton’s bone-crunching 1989 Grand Final hit, followed by quick of snippets of Dermott running back out and scoring goals.
RH: “We don’t cut to these highlights as they are projected behind him. The audio of the feats can still be heard underneath Brereton’s line. We also have the option of him standing with his back to the projection and then cutting to him looking up at his projection.” TREATMENT
We cut to a tight shot of a female fan sitting, looking down the barrel.
RH: “The female footballer is in amongst a crowd, it is a profile shot as her line is delivered. She’s surrounded by wild fans.”
Female Fan: And it turns cheers into roars…
RH: “The roars are a mixture of cheers with cheering faces, flags waving, scarves raised above heads.”
We cut to a montage of quick snippets of roaring crowd shots. TREATMENT
We cut to a tight shot of a male fan sitting, looking down the barrel.
RH: “The male fan is down the barrel in against a dark back- ground.”
Male Fan: Even when it’s not your team.
We crash zoom into the fan’s face. The lights get more intense as we see face paint automatically covering his face. He starts energetically roaring.
RH: “We crash into his face and in a strobing effect all the differ- ent colours of the teams competing in the finals projected onto his face.”
We hear the roar of an entire crowd over the top of this.
We cut to a tight shot of the Scott brothers sitting, looking down the barrel.
RH: “We have Chris standing on the ground, we have a stea- dicam shot rotating around him.”
Chris Scott: It affects us all, whether you’re on…
RH: “As soon as his line is delivered we go over his shoulder as he looks up at the big screen, on the screen are the celebrations of the 2001 grand final.”
We cut to split screen shots of the Scott brothers celebrating on TREATMENT field for the Lions in the 2001 Grand Final.
Brad Scott: Or off the field.
RH: “Cut to Brad Scott down in the meeting room in the change rooms, he is putting notes/strategies on a whiteboard, the white- board is perspex so we are shooting through the (clear) white- board at him, after he draws the notes we pan to the opposing wall and projected on the wall is the split screen of the two coaching for Geelong & North Melbourne.”
The split screen shots cut to vision of the two celebrating as coaches of Geelong and North Melbourne.
We cut to a tight, brooding shot of Dennis Cometti sitting, looking down the barrel.
RH: “Dennis Cometti is sitting in the stands, a mid-shot.”
Dennis Cometti: And you witness things you’ve never seen be- fore.
We crash zoom into Dennis’s eye and begin seeing rapid cuts of different football shots: Jesaulenko’s mark, the Giants running out onto the ground led by Jeremy Cameron, Michael Long’s run and Hawthorn holding the cup on the podium.
RH: “We crash into Dennis’ eye and see each highlight in the blacks of his eye (post effect). It is an extreme close up. We see Dennis blinking each time he blinks a new highlight appears in his eye. (Jesaulkenko’s mark, the Giants, Michael Long and the Hawks on the podium).”
We cut to a tight, brooding shot of Patrick Dangerfield sitting, looking down the barrel.
RH: “There is a silhouetted figure in the middle of the MCG at night, with smoke surrounding him. We track in closer to see who it is.” TREATMENT
RH: “ Dangerfield delivers his line.”
Patrick Dangerfield: But there’s only one way to truly understand the finals effect. And that’s to feel it live...
RH: “After he delivers his line we explode with lights illuminating him and it is a serious beam of lights and flares.”
We cut to epic game day footage.
RH: This vision is full frame.”
Female Fan: To feel it live...
RH: “The female fan delivers this line in the same surroundings as before with the other fans around her.” TREATMENT
We cut to epic game day footage.
RH: “This vision is full frame.”
Alistair Clarkson: To feel it live...
RH: “Clarkson’s line is very tight on him. Moody lighting like the start, he looks up and delivers the line.”
We cut to epic game day footage.
RH: “Fast cut, full frame, epic”.
Cut to end frame Super: Feel the finals effect. Super: THE FINALS
AND I LOVE CREATING EPICNESS!
LET’S GO MAKE SOME MAGIC. THANKS! RH